Larry has it - this would be a canonical Phish show even without the Beatles cover, which frankly can't touch the VU/Stones/Talking Heads/Pink Floyd covers in terms of musical interest. Whereas NYE 95 closed out a period of musical growth and personal triumph for Phish, this one kicks off an unbelievably fertile run of shows, the November '94 boom. There's a provisional or prefatory feel to some of Phish's '94 stuff - the runup to the maniacally intense psychedelia of late 1995 - but November 1994 is a heady time, and it literally starts here. Reba, Slave, Bowie, Coil, Antelope: from this vantage you can make out the steep slope to the peak in NYC just 14 months later. This show marks a holy moment for the band.

A Sort Of Homecoming
February 12th, 1993 – Mid-Hudson Civic Center, Poughkeepsie, NY

Before Phish had taken the stage in my hometown hall at around 8PM in a raging snow storm, I had never seen a picture of this band, had no idea what they looked like or what their stage show (or lack of?) was like. I knew some of their music, I had two cd to cassette copies of Junta & Picture Of Nectar. I knew these two albums well, real well, and that was it. Having just moved back to my hometown after Art School in Ft. Lauderdale, I was searching for something new musically and these two albums got me thru that winter of ’92 -’93.
I grew up in the 70’s and 80’s. My musical tastes started with pop music of the 60’s - 80’s, on both AM & FM New York City radio stations in my pre teen years. I then moved onto heavy metal, punk, The Kinks and the early alternative/college radio music scene during my middle school/high school years. In art school, I was discovering the Grateful Dead, jazz, folk, reggae, industrial / more alternative and digging deeper into classic rock heavily. The newly exploded grunge scene I had liked, and it seemed to come from similar influences as in my life, but nothing really got in my head sonically and made me head-bang, fist pump devil sign style, dance, pogo, kick, sing and get ME like Phish did and STILL does.

The Mid-Hudson Civic Center is very special and personal venue to me. I was born blocks from there (pisces), it is where I started seeing concerts. From Frankie Valli and the Four Seasons w/the parents to my first without adult supervision concert KISS to Motley Crue/Ratt tour to Iron Maiden to Alice Cooper to Ace Frehley to The Kinks and few others. I always did know the sound in that venue was horrible but I also knew that a general admission show at MHCC can be crazy and a lot of fun on the open floor. I knew I could get close and be in a good spot sonically and visually. The night of the show, it was in the middle of a 8’-12” snow storm, but my friends and I were determined to get there. I had 3 tickets for the sold out show, but we had 5 in our group. OK, there should be no problem getting two tickets at the venue before the show. So, as I’m hanging out front of the venue in the snow, I’m asking everyone who walks by if they had any extras.
All the while, my friend and I are talking with a phan from Vermont who had come down for the show. I was familiar with bands who have traveling fans, and was impressed he had made the drive down in a snow storm, so I said welcome to my hometown and shared how excited I was for my first Phish show.
He then says to me, “Mike Gordon just walked by all the people here and no one knew it.” I then say, “Isn’t that the bass player in the band?”
Phan from Vermont then tells me, “You just asked him if he had any extra tickets.”
Wow I’m thinking, how cool is that? A musician in a band who is starting to make their way up to the big time is walking around outside the venue before show time! We get the 2 tickets we need, take a tab and head into the show………...
First thing I notice when I walk in is the stage. This is not your typical stage set up that I was used to. First off, the drums are not center back stage, but over to stage left. That’s different I think as I scan across to see the bass rig, then guitar rig, then a grand piano, Hammond organ w/Leslie speaker and Fender Rhodes set up over on stage right. All in line center. I like that. Behind the instruments are these ten large glass rectangular boxes with paint scribbles across them. This is going to be fun I think to myself.
The band walks out and I’m thinking, look at these geeks, cool! The drummer is wearing a moo-moo with goggles, the bass player, yep that’s the guy I asked for tickets, the guitarist looks like a nerdy Chuck Norris and the piano/organ player looks like a GQ preppy guy. This does not look like a rock band?

GOLGI APPARATUS: “I look into the finance box just to check my status, I look into the microscope see Golgi Apparatus!” Yeah, I know this song!! Wait, a song about a ticket stub, right after asking one of the band members for one? Whoa…weird……All around me people are dancing, so happy, passing me j’s and this actually sounds real good in this room 15’ back from the stage! This is where I belong.

MAZE: I love me rippin’ hi-hat and cool bass lines…I never heard this song until this night, and I’m dancing and digging it like I knew it all my life. Wow, listen to that organ, this is how boards are supposed to be played! Then here comes Trey…..out of the organ solo and bam…..sling me across the psychadelic plane that I’m on. Holy shit, fist pumping, head-banging at lighting speed. Now this IS metal. Fuck Yeah!

GUELAH PAPYRUS: Nice, I know this one too! What a perfect place for a cool down, tripped out reggae style song. The band seems to be really upbeat and real tight too I’m thinking. What’s this trippy Oom Pa Pa signal break?? That was interesting. I’m floored already.

SPLIT OPEN AND MELT: This also is a debut to my ears tonight. What a great beginning to a song with a cool drum start and heavy funky bass line! I love this song from the get go. The piano line in it captures me immediately, one hand is playing the bass line and the other hand is playing a “lead”. This guy is genius. Never before since seeing The Kinks in this same venue had I loved piano in a band. The guitar is shredding and still got me head banging.

ESTHER: Another song I know and a chance to catch my breath. They like the Simpsons too? The musicianship continues to blow me away. Well played.

CHALK DUST TORTURE: Hell yeah, I’m thinking as they launch into this song, I had been hearing it on WNEW over the winter and really love a good rocker. I was like a Mexican jumping bean on the floor. I’m locked in with the band and they seem to be locked in with me.
I DIDN’T KNOW: What’s this, acapella? Ok, this should be interesting……here comes the drummer in moo-moo, steps up to the mic with a vacuum cleaner? What the $^?? Fun song.

TAKE THE A TRAIN: As soon as those piano notes start I yell, “WOW, Duke Ellington???!!!! Very cool!” I always loved this song and now seeing my new favorite band play it live is really blowing me away. Thank you! Into…….

RUN LIKE ANTELOPE: Another debut to my ears, and once again I’m dancing and getting down like I knew this song all my life. These guys are the best, it’s like they know what I want to hear, what tempos and notes to play and the dynamics, oh the dynamics. Once again head-banging and jumping around like a possessed nut. This is where I belong.


SETBREAK: All I can think is where has this been all my life up to this night? I have never felt so connected with a band before. It spoke to me on so many levels. It had the hard rocking roots that I grew up with, the improvisational music that I came to like and the humbleness of everyday heroes. The light show also impressed me very much. Kept simple, yet so effective. The lights seemed to be perfectly in synch with the music like I had never seen before. I knew these were not all rehearsed lighting cues, there was a sense of improve to it too. Like the lighting director was part of the band. I had never heard music so clearly before in this room. The FOH sound guy knew not to crank it so loud like heavy metal, yet it was loud enough to rock out on! The venue was letting people go outside for set break, and I wanted to see what snow was like on acid since it was my first time tripping in the snow. For set 2 my friends and I grab a spot on the floor just to the right of the soundboard area. This was a magical night and it was not over………….


MY FRIEND, MY FRIEND: Debut to my ears,I liked how this song started with Trey playing the acoustic guitar propped up on a stand. I liked the feel of this set opener.

ALL THINGS RECONSIDERED: Another debut to my ears, great music, Man this band is so talented. Dig this song.

REBA: Another debut to me, yet here I am feeling like I know this song. Love the composition, the chill plane nirvana segment. Trey is really taking me places on this song I have never experienced before. This is sick.

POOR HEART: All right, a song in the set I now recognize. I am enjoying this, the band seems to be very playful, yet some serious musicianship there.
BIG BALL JAM: More quirky phun here, yet interesting musically. The band seems to be “playing” with the way the three large beach balls are bouncing around. Then the crowd shoots 3 for 3 thru the giant hoop that Mike, Trey and Brad made.

FAST ENOUGH FOR YOU: Another debut to me, a chance to cool down. I love these ballads that Phish play. This song is of pure beauty on my ears.

YOU ENJOY MYSELF: Yes I do! This is great to hear for your first show and I knew it too! One of the quintessential Phish songs. What, they jump around on trampolines?? This is cool, never seen this before at any other concert. Great bass solo and this vocal jam is very interesting and fun. Great improve once again. The vocal jam leads right into a nice…….

YA MAR: This was a fun calypso to hear as the snow was falling outside. I really had a good time dancing to this one too.

HYHU>TERRAPIN>HYHU: More silly antics by the drummer in a moo-moo with some vacuum jamming. Hey, the guitarist plays drums too, cool.

HARRY HOOD: Now when this started after the crowd up front kept chanting for it, I had no idea what I was in for. This was religious to me. It was the first time this song was gracing my ears. This seemed like the right song for the right moment in time for me. Pure magic once again. The “heavy metal” thank you Mr. Minor part had me thrashing and stomping the floor like one of those metal shows I saw in this same hall many years earlier. The dynamics of this song took me on an incredible journey like I had never went on before. Thank YOU Mr. Phish!

HARPUA: It’s amazing to look back on my Phish career now and see how lucky I truly was to get this at my first show. Throw in a little Michael Jackson and you’ve got one outrageous story. As the story winds down you hear Trey say, “Look, the storm’s gone” I truly felt like things had calmed down outside, even though I was still inside the venue.

ENCORE: AMAZING GRACE/GOOD TIMES BAD TIMES: This was truly the icing on the cake. First, Fishman gets the hall dead quiet and the band sings this beautiful song acapella with NO microphones. Take that shitty acoustics Mid-Hudson Civic Center!
Now, for the Good Times, Bad Times. This was the perfect conclusion for me personally.
In the Hudson Valley, Led Zeppelin always has been and always will be god on radio station WPDH. Zep was a very big part of my high school years and all walks of life love Led Zeppelin. It was the great equalizer. I could not have asked for a better encore for this magical night.

Thank you so much Phish.

Nearly every Phish fan should be familiar with this show (especially now that its been given the Live Phish treatment) but for those who aren't its a classic show and features the band's first musical costume. However the cover of the White Album isn't the real highlight of the show as much as the Reba is. This is THE Reba (5/16/95 to me is not quite there) and for good reason. A completely wonderful jam and a completely wonderful show that would kick off one of the greatest months in the band's history.

The set lists read like pure gold to hardcore Phish fans (weve got Bag, Hood, Funky Bitch, and Bowie in the first set alone!), and the pacing of the concert really is frenetic with one Phish classic following the next. However where the show delivers on quantity, 11/4/90 could be seen as lacking, without the complex and extended "jamming" by which most Phish shows are judged today. The show was played during the band's second run of shows in Colorado in the fall of '90.

The show features a young and ambitious Phish, playing one of its first runs of shows outside of New England. This is important to note because as the band was still in its "relative" infancy (this is before even Amy's farm) so were many of Phish's songs which at the time were still being perfected rather than explored.

That being said the quality of the show really is stunning, with the band still so early into its career. Each band member is incredibly tight throughout the entire show, however it is clear that Trey is really leading the entire show. The real selling point of this show however is its high availability in SBD quality. The quality of the show makes it an easily accessible glimpse at the band still playing small venues and tirelessly working towards making its name on the concert scene.

The highlights of this show are really the quality and percision by which each song is played, providing phans a perspective of how the bands "jam rock" sound of the early '90s began. That being said Harry Hood and Funky Bitch are the clear cut winners in this show. Hood is a must listen for any serious fan of the tune, and though only just over 11 mins the jam never feels rushed or cut-off. With its wonderful SBD quality, a standout Harry Hood, and an abundance of beautifully played Phish classics, I would highly recommend 11/4/90 for any fan looking to see what the band could do in the early days.

The first set is fine mid-'94 stuff, sure, but every Phish fan needs to hear the second set, which peaks with an extraordinary Mike's, embryonic Simple, gorgeous H2, and manic energy powering every note. The O.J. hijinks are priceless. 'WILL HE MAKE IT?!' Weird that such a dark event prompted such a ecstatic night of music, but that's Phish for you: before 1997ish they were a relentlessly *sunny* band, as this show demonstrates. Give it a listen; grab 6/22/94 for dessert!

this is just a great show top to bottom, action packed all the way. Strong first set with Peaches, YEM, DWD>Frankenstein. The Simple jam gets lots of attention in the second frame as it should, but the Hood and Weekapaug in particular are very nice as well. The energy and crowd reaction when they stop the Weekapaug jam ON A DIME(!) and then kick right back into it is just ridiculous. One of my fav versions for sure. Oh yeah, a killer GTBT closer and some fun with Lary, Les, and the Elvis' to top things off? Ah, Vegas...

Did anybody else notice in Tweezer (6 min mark) a type of 'Manteca'? If not Manteca, what was that sick jam in the Tweezer?
Trav

This is the weakest of the four Island Tour shows, to my ears, but that's like being the wrinkliest hundred dollar bill. From Wolfman's Brother through Twist it's pure uncut early-1998 funkspace; the boys sound especially chuffed to be playing Sneakin' Sally again (first time since 12/30/97 - a pretty long two-show gap!) and the jam into the very first performance of Frankie Sez is a tasty minimalist dance workout. The first five songs of Set II run ten minutes apiece, then after the Frankie interlude (with its slightly awkward but certainly interesting segue) comes a divine 18-minute Twist. Talk about a strong showing for the band's newest material! The rest of the show is just gravy.

The first set, as if it must be said, is uniformly strong, like most Phish of its era.

This show got proper LivePhish treatment a few years ago, and is well worth the purchase. There's a nonnegligible portion of Phish fandom that considers the Island Tour the best and most consistent run of Phish's career, and if you like the band at all then you should give all four shows a listen or two. Or ten. Unlike, say, late 1999-2000 or summer 2004, the good stuff in the Island Tour is never ever boring, nor do you have to wade through soporific obligation-fulfilling tunes to get to the rock'n'roll freakouts. This is the total package, fat-free and fathoms deep.

Trey in fact did have a 'Greenish-Teal' Languedoc for Sets II and III, I didn't notice it in the first. Now friends of mine said that it was his 'Time Turns Elastic' guitar, but I disagree; I think it was a gift for Christmas from Paul to Trey and he decided to bust it out, Paul Languedoc was in attendance so this is my theory, jump on it or not; but one cannot disagree with the fact that Trey definately was playing the entire 2nd and 3rd Sets with a 'Green-Blue' guitar!
Trav

I agree with most of what waxbanks says after buying this show and listening to it again. That being said, I want to mention why this is probably my favorite live Phish experience.

My last Phish show was Coventry and I went with my brother. I was lucky enough to have caught IT, and had been excited for a similar three day party with great music, but Coventry left a horrible taste in my mouth. The whole event was a disaster. The flood issue was bad, the music was worse, and the vibe awful. I was glad it was their last show, and I had no interest in seeing them when they reunited last year. I think I was actually mad at the band, if that's possible. However, my brother landed 4 tickets to Hartford, and I happened to be in New England with my girlfriend (who hates the little bit of live Phish she's heard), so I decided to check it out.

So I dragged the Phish-hating ball-and-chain to Hartford, and my brother brought a good friend, who had never really listened to the band at all. Shake-down turned out to be a blast; it was a very upbeat environment to hang out in and drink a few beers. I was already reminded of how different a Phish experience can be. The energy level was really high, and suddenly I found myself hoping that Phish could still deliver.

I can honestly say that Phish blew us all away in Hartford, surpassing everyone's expectations. When I try to explain to non-fans why Phish is so great, this show is exactly what I think of. The energy level was EXTREMELY high. Story-telling, trampolining, vacuum-cleaner solos providing humor, and interaction between the band and crowd were all reminders that the band doesn't really take itself too seriously. Also, Chris Kuroda has once again stepped up his game with the lighting he provided. Bust most importantly, we heard good jams, and the band sounded great. They were as enthusiastic as the crowd, and the show was a blast.

I know we got lucky with how stacked this set-list was, but the greatness of this show for me was contributed to by this factor, rather than determined by it. I felt that I, like many people, had gone to a Phish show this summer with a depressing feeling that I may witness a train wreck. I thought I may see the sloppy, unenthusiastic band of 2004. I was so disappointed with my last Phish experience, and I didn't want to see the band add to that with another abortion of a show. How wrong I was.

Hartford has given me that itch again. Listening to the tapes of this show made me realize it wasn't without flaws, but it reminded me why Phish has more or less ruined other live music for me; no band can capture that energy, enthusiasm, and fun of live music that Phish can consistently deliver. I've listened to more Phish since Hartford than I had in the years since Coventry. I can't wait for the next show. This show was worth the wait, and somehow they even converted my girlfriend. So while the recording of this show won’t provide you with the best versions of these songs you have ever heard, no one goes to a Phish show anticipating what the tapes may be like the next day. The point is the experience at that moment, and on this night they were perfect.

-Naptown Phish Fan

As Antelope is my favorite Phish song and this version started strong, I will admit to this day: I am still waiting for that performance to end. Why, Trey, why didn't you come back to set the gear shift to the high gear of your soul?!

My first Phish shows. Loved the opening Ya Mar - Funky Bitch - Fluffhead; it gave a great feel to the afternoon/evening and had the crowd in a good mood as I recall. Antelope to end the first set was...outstanding in its energy and focus.

I have to say, in contrast to the other reviews of this show, I found Simple and YEM to be superb that evening, at least in person. Some of the show doesn't translate so well on tape after the fact, but I enjoyed the second sets atmosphere and lighting. Certainly not the best show of that era, but it's what I want Phish shows to be: enjoyable and memorable. One thing I do agree on with others is the encore: not too good for the last show of a tour.

Though it may not have the title of "Greatest NYE Show Ever" that phans usually give to NYE '95, 12/31/93 has long been argued by many avid listeners as the true great New Years show. Its really a difficult argument to make either way you look at it. Sure NYE '95 was the climax to the greatest single month in the bands history (11/94 I would give close second) and the marked the point where Phish really stood apart from the rest of their musical peers. However it could be argued that 12/31/95 would not exist if it were not for the precedent two years earlier, as the band ushered in '94 by rocking the Centrum into musical delirium thanks to our good friend Harry Hood.

Set I features an amazing Stash that concludes with a slight tease of the Roundabout theme. After Ginseng Sullivan we get a nice serving of Reba. I'm actually surprised at the lack of mention this Reba ever gets because although the jam is short it is fiery and features a whistled out ending. The set closes with a scorching Antelope the like of which youd expect from Phish a la '93.

Set II is probably where this show lacks compared to NYE '95 in that the Tweezer is short and despite the transitions through songs nothing feels overly exploratory or mind melting. However the set does end with YEM which kind of saves it from futility in my mind. This is a superbly jammed out YEM that sets the stage well for Set III.

After the ball drops and the band plays the customary Aud Lang Syne things get moving, and in a big way. They band begins to play DWD. Though it has become one of the bands most popular tunes many fans arent aware that this three minute lighting strike is the first DWD ever played! It is an absolute perfect way to kick of an amazing set. After DWD the band was clearly focused and made mince meat of every tune in their way until only one adversary was left: HARRY HOOD. I will have heard many a Hood in my day but to me this will always be the greatest version of the song bar none. Intro is standard if not a little drawn out but after a screaming distortion section the jam begins with Trey playing a beautiful Aud Lang Syne tease. From then on the song is pure ecstasy with the final 3-4 minutes featuring some of the most exciting guitar work I've ever heard. Trey fully hoses the crowd for the final 2 minutes and by the time the theme comes in your left with goosebumps. Perhaps my favorite piece of Phish ever!

The concert is an essential for any serious Phish fan and the Harry Hood is arguably the best ever. The concert is also a must for having some of the best AUD tapes ever recorded imo. Get it now and you'll feel good.

This is the most easygoing Phish funk imaginable - nothing but straight-up 'funky bluesy' fun to kick off a weekend of great music in Limestone. My FMSBD recording starts off with a 22-minute jam that's in the running for 'most engaging jam of 1998': no intense intergalactic psychedelia, no lockstep polyrhythms, just pure dance-party goofiness wrapped around a soaring melodic anthem. After Chicken Shack, Trey calls for another funk jam, but Fishman drops a skittering second-line-on-uppers beat and it's off to the races. The two freeform jams total 35 minutes of the guileless hangout music that Phish rarely get into in front of an audience, and the rest of the soundcheck bops along in similar summer style. A delightful, open-hearted soundcheck, characteristic of the looselimbed 1998 touring year.